British actor Tom Hiddleston has surprised fans with a little festive treat after teaming up with country singer Rodney Crowell for a rendition of We Wish You A Merry Christmas. The Thor star is currently holed up in Nashville, Tennessee working on his portrayal as country icon Hank Williams, Sr. in forthcoming biopic, I Saw the Light, and he recently enjoyed an impromptu carol session with Crowell, who portrays his onscreen father, Elonzo Huble 'Lon' Williams.
A representative from Crowell's management team has since shared video footage of the sweet acoustic sing-a-long on YouTube.com, in which Hiddleston is featured holding a black and white dog, named Mono, in his lap.
The video caption reads: "Rodney Crowell and Tom Hiddleston, working on the soundtrack for 'I Saw the Light' take a short break to spread some holiday cheer at Rodney's studio with his wonder dog, Mono."
Crowell is also serving as Hiddleston's vocal coach and working on the film as an executive music producer.

NBC Universal Media
When NBC released the gag reel from Hannibal's first breathtaking season, we were relieved to see the ensemble — especially Hugh Dancy, turning in a deeply unsettling performance as a profiler losing his grip on reality — laughing and goofing around. So, let's just say we're eager to get our hands on some behind-the-scenes footage of Michael Pitt putting in the hours as Mason Verger, a sadistic creep the likes of which Hannibal and Hannibal have never seen before.
It's almost impossible to picture Pitt, an actor with zero self-consciousness and 100 percent commitment, chuckling with his castmates or dropping four-letter-words after a failed take. He's a former teen idol, having romanced Michelle Williams back in the day on Dawson's Creek. He's a muscian with his own band. He's even been the face of Prada. But something about Pitt wholly defies the Hollywood scene as we know it. He disappears completely into roles — from ill-fated Jimmy on Boardwalk to Hedwig's lover in Hedwig and the Angry Inch to a preppy psychopath in Funny Games — and from the public eye in between them.
And all these qualities made him the perfect choice to embody Mason, a character adapted for the series from the Thomas Harris source material. Hannibal has gotten away with some of the most terrifyingly beautiful fever dreams ever shown on network TV, and Pitt melded flawlessly into that world. Verger is just as twisted as the show's namesake, but in a way that Hannibal finds "rude." And we know what he does to those he finds... uncouth. From his first appearance — wild-haired and clutched a piglet in a blanket — to his last — high on psychotics, feeding pieces of his own face to Will's beloved rescue dogs, Pitt was captivating and unnerving. Just what the doctor ordered.
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Artist Nancy Holt has died at the age of 75. Holt lost her battle with leukaemia on Saturday (08Feb14) in Manhattan, New York, according to the New York Times.
She was best known for her works in land and installation art; her Sun Tunnels piece, which featured four concrete culverts set to co-ordinate with the sun during the winter and summer solstices in the Utah desert, was one of her most famous creations.
In addition to her artwork, Holt also worked as a cinematographer, director and producer of several film projects including Mono Lake, Sun Tunnels and Spiral Jetty.

An autographed copy of The Beatles' Sgt. Pepper's Lonely Hearts Club Band has been snapped up at auction for $175,698 (£109,811). The first-issue mono pressing of the 1967 record, signed by Sir Paul McCartney, Ringo Star and the late John Lennon and George Harrison, went under the hammer at RR Auction house on Wednesday (15Jan14).

Frank Hoensch/Getty ImagesFollowing on from their triumphant performance at the London Olympics Closing Ceremony, the majority of the Spice Girls have managed to switch their attention from trashy reality TV, weight loss adverts and clothing lines long enough this year to reignite their solo careers. Melanie C recently scored an unexpected UK Top 20 hit thanks to a duet with X-Factor winner Matt Cardle. Geri Halliwell will premiere her first new single in eight years on Australian TV next month. While only last week, Mel B unveiled her surprisingly half-decent comeback track, "For Once In My Life." Here's a rundown of each Spice Girl's solo material from worst to best.
5. Mel BThe first member to venture outside the Spice Girls bubble, Melanie B opened up her solo career in style with the futuristic R&amp;B of 1998 Missy Elliot collaboration, "I Want You Back." Unfortunately, she failed spectacularly to sustain such a strong start. An ill-advised cover of Cameo's "Word Up" became the first ever Spice-related single to miss the UK Top 10. 2000 debut album Hot appeared to catch the likes of producers Rodney Jerkins &amp; Teddy Riley on an off day, while 2005's disastrously low-budget L.A. State Of Mind suffered the ignominy of selling fewer than 500 copies in its first week.
4. Victoria BeckhamLike Mel B, the most high-profile Spice Girl initially started off well. Jumping aboard the two-step garage bandwagon of the early '00s, her inspired hook-up with Truesteppers may have lost one of the biggest chart battles of all time to Spiller's "Groovejet" but it still sold half a million copies. However, 2001's self-titled debut album, a lacklustre affair filled with anodyne R&amp;B and drippy ballads, badly underperformed. And although the tongue-in-cheek disco-pop of swansong "Let Your Head Go" restored a bit of dignity, most agree that she makes a much better fashion icon than pop diva.
3. Geri HalliwellThe only solo album to reach the Billboard charts, Geri Halliwell's 1999 debut Schizophonic was arguably the record that Spice Girls should have recorded instead of the hopelessly generic Forever. Three of its four singles topped the UK charts, while her jaw-dropping entrance at the 2000 BRIT Awards proved that despite her 1998 departure from the group, the spirit of Ginger Spice certainly still lived on. However, she boxed herself in with a ridiculously camp cover of The Weather Girls' "It’s Raining Men," while both 2001's Scream If You Wanna Go Faster and 2005's Passion lacked any of the spark that made her such a brilliant if slightly bonkers pop star.
2. Melanie CWidely regarded as the Spice Girl with the best voice, Melanie C was supposed to be the Robbie Williams of the group. 1999's near-million-selling debut Northern Star, a hook-laden but mature mix of electronica, R&amp;B and pop-rock featuring the likes of William Orbit, Lisa 'Left Eye' Lopes and Butch Vig, initially proved this to be the case. But a three-year wait for follow-up Reason completely destroyed any momentum and she rapidly became a fanbase-only artist with several increasingly bitter albums of plodding indie-rock. However, she remained the only Spice Girl to persevere with a solo career and 2011's return-to-form, The Sea, suggests she's still capable of recapturing her early glory days.
1. Emma BuntonEasily the most unassuming Spice Girl, Emma Bunton unexpectedly delivered the greatest solo single with the driving pop-rock of "What Took You So Long" in 2001 before going onto produce arguably the most well-executed album with 2004's Free Me. An inspired pastiche of '60s pop which featured everything from potential James Bond themes to Bacharach-esque ballads to covers of Brazilian samba classics, it was the only Spice Girl sophomore to sell more copies than its predecessor. And although a lazy rendition of Petula Clark's "Downtown" sank the similarly-themed third album, Life In Mono, her back catalogue is easily the most consistently enjoyable.
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You may think you know what you're in for when you start watching an HBO's Phil Spector. It'll be a Quality with a Capital Q production built around a bonkers central performance by Al Pacino, in which he (literally and figuratively) wigs out and practically screams "Look at me, ma! I'm acting!" But the movie as it stands is far richer, and far more unsettling, than your typical Emmy bait. That's due in part to writer-director David Mamet, whose script mostly avoids the histrionics we'd expect in a depiction of the legendary music producer's trial in the death of actress Lana Clarkson. It's also due to a general serious-mindedness about the case and its implications, for Spector's legacy specifically and celebrity in general, that all parties involved seem to share.
Al Pacino Plays a Fiery Phil Spector in New Trailer for HBO's Film
HBO tacked on an unusually severe bit of legalese to open the film: "This is a work of fiction. It is not 'based on a true story.' It is a drama inspired by actual persons in a trial, but it is neither an attempt to depict actual persons, nor to comment on the trial or its outcome." Somebody really doesn't want to get sued. What's odd, though, is that, despite supposedly not being based on a true story, Mamet's script dives deep into the Rashomon-like details of Clarkson's death. If Spector had placed the gun in Clarkson's mouth and pulled the trigger, why wasn't there more blood splatter on his white blazer jacket? As it is, there were only a couple pin drops of blood on it, when any ballistics study shows there should have been a deluge. On the other hand, why the hell would this woman decide to commit suicide in Spector's house? And with one of Spector's many guns, no less? If Spector hadn't killed her, why did he run out to his chauffeur and, holding a pistol, say, "I think I killed somebody." Or, did the Brazilian chauffeur with a tenuous grasp of English actually mishear Spector saying, "I think you should call somebody"?
Mamet captures the difficulty in discerning truth from fact, even when (or especially when) a case has a mountain of forensic evidence to parse. Unlike latter day Law &amp; Order or CSI, there's a feeling here that establishing guilt or innocence is a lot more complicated than indexing fragments of brain and skull. And a profound melancholy permeates the film: the feeling that a man who gave the world incredible beauty through years of revolutionary music ultimately created a situation, even if he didn't actually pull the trigger, to hang himself. Every Christmas when I listen to his 1963 masterpiece A Christmas Gift To You From Phil Spector, I'm struck by his heartfelt recorded message at the end to his listeners. Here was a mind at that point uncluttered by drugs but probably already afflicted with the fears and insecurities — about his masculinity, his relationship to women, his elusive quest for "perfection"— that would doom him. Pacino, for his part, underneath the Afro wigs, still conveys some of that sensitivity that came through in Spector's early work, especially in an early scene when he covers his lawyer, played by Mirren, with a blanket to protect her from the chill. There's a gentleness there that belies the ferocity that comes out at other moments, like when he talks about how he thinks the world should view Clarkson's death as meaningless compared to the deaths of truly great individuals, like his friend John Lennon.
Phil Spector also suggests how little we appreciate the people who create pop culture behind the scenes. By default we're more likely to be on the side of O.J. Simpson when he's charged with murder — at first, anyway— because he ran through airports in Avis commercials, won the Heisman Trophy, and starred in The Towering Inferno. Michael Jackson could have supporters ready to release a white dove for each charge of which he was aquitted at his molestation trial. But Spector? He'll have people standing outside supposedly supporting him with cries of "Back to Mono!" who then throw blood — "The blood of Lana Clarkson!" — on him. Unfortunately, Mamet doesn't explore the different relationship between pop culture consumers and its behind the scenes creators as much as he could. Instead, he tries to set up a tired generation-gap theory for the negative backlash against the producer. There's a really out-of-place and silly scene near the beginning where he introduces the idea that young people today don't even know what 45 rpm records are, so how could they believe in Spector?
Despite those flaws, Mamet's take on Spector's descent ultimately works because of the underlying sadness that suffuses it. This isn't just a sensationalistic tale of the "dark side of genius," but the depiction of a terrible tragedy for everyone involved. And actually, with its combination of pop music, celebrity, and guns, it's a uniquely American tragedy.
Did you watch Phil Spector last night? And what was your take?
Follow Christian Blauvelt on Twitter @Ctblauvelt
[Photo Credit: HBO]
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Seinfeld did it! No, not just creating a near-perfect sitcom about three goofy guys and the attractive, hilarious woman who probably shouldn't have been hanging out with those urban doofuses in the first place. Rather, creating a near-perfect episode of television that takes place predominantly in a parking garage, the least-funny setting imaginable. Now, New Girl, which has always played something like Seinfeld-lite, is heading into their territory again. The latest episode, the aptly titled "Parking Spot", had Nick, Jess, and Schmidt on a wild goose chase to nab a parking spot in their building's basement that they didn't know even existed. Winston, on the other hand, spent the episode on a wild goose chase to find a condom to have sex with his new girlfriend Daisy (Brenda Song) because this show still has no idea what to do with poor Winston and it's now resorted to this.
"Parking Lot" started with a familiar scene: Nick and Jess brushing their teeth in the communal bathroom, with nothing between them but sexual tension. Only this time it wasn't filled with cute, anticipatory glances, but awkward, stammering banter between two people with a lot of unresolved things to talk about. Jess once again brought up the infamous kiss because, let's face it, it's still on her mind. And Nick joked that they should have sex because, let's face it, it's still on his mind. Both are trying to defuse the situation by simultaneously bringing it up and avoiding the real issues at hand at all costs. It's not a disaster waiting to happen, it's already happening.
RELATED: 'New Girl': The One Where Nick and Jess Kiss
But, there were bigger issues at hand than the deterioration of a friendship (and, hopefully, the early phases of a blossoming relationship): there was a parking lot! A parking lot, people! The news startled Schmidt so much that he ripped a towel rack off the wall and threatened to kill his best friends. (Serious question, are free parking spots to people in LA what open seats are on the subway to people in NYC? If it's there, you better just haul ass to get it before someone else does. EDITOR'S NOTE: Yes. Yes, they are.) Jess once again played peacekeeper and suggested all four of them split the parking spot, but Schmidt was adamant that he deserved the spot. After all, he had the "crummiest room" in the loft and was on "24 hour grout watch" and had the odds stacked against him as he didn't have the lady card, race card, or in the case of Nick (who pronounced wi-fi as "wiffy") the "lazy drunk card" to play.
With Winston busy trying to get busy and Nick buckling under the pressure of pressure, it ultimately came down to a showdown between Schmidt and Jess. Since neither was going to buckle, Nick was called upon to be the decider. Now, we've wondered before if New Girl has a feminism problem — the scene of Jess wearing Nick's hoodie and not much else and relentlessly flirting with him and twisting his nipples to get the parking spot certainly didn't do the show any favors. Nor Jess, for that matter. With the tension between her and Nick so palpable and nerves so raw, why blur the line and flirt? For a parking spot? And a nipple twist? Low blow.
Schmidt, who tried to woo him with the far less effective tactic of handing him a beer, lost out to Jess, and then put the pieces of the sexually frustrated puzzle together: Nick gave her the parking spot because there was the smell of lust and friction in the air and it smelled like frickin' Tijuana. Nick then confessed that he and Jess did, in fact, suck face and the news greatly upset Schmidt. Not just because that's why Jess — who was clearly not taking the consequences of mono seriously — was getting the spot, but because Nick kept such a huge secret from him. (This is where the episode slipped out of Seinfeld world for a bit and back into Friends territory, not that there's anything wrong with that!)
RELATED: 'New Girl': Nick and Jess' Post-Kiss Awkwardness
And despite "shaking what the good people of Oregon gave her" (did we know that was where Jess was from? Her being from Portland would make a ton of sense) Nick backtracked and gave the spot to the apparently nipple-free Schmidt because, as he put it, "this city can't have another scandal." When that hit the fan, Nick finally decided to take the spot for himself, which resulted in all three making a madcap race to get their cars to the underground lot to claim it for themselves. Schmidt's car was parked-in, Nick's car was being kept under a freeway (of course it would be), and Jess' car was covered in stray cats (of course it would be) but all three somehow arrived at the spot at the same time. Even after threatening to physically hit each other with their cars, and actually hitting each other with their cars, no one budged. Not even Schmidt, who had to "pish" and eventually wound up pishing himself. There was something comforting in just how sitcom-y this whole sequence was. Like when the guys from Parks and Recreation endured food poisoning a few weeks ago, it felt like an old-fashioned brand of TV comedy.
Elsewhere, while Winston was still out trying to find a condom (and eventually landing at Cece's place, because she needed some reason to be in the episode, too, I suppose), things got real between the three vying for the parking spot. Nick made the grave mistake of telling Jess he thought their kiss was the worst mistake he ever made in his life, worse than going to law school, worse than thinking our President's name was "Brockuh Brobama" and worse than getting back with Caroline. That if he could go back in time to make things go back to the way they used to be, he would. Ouch. Even by Nick Miller standards, this was a boneheaded thing to say.
Of course, Schmidt has the market cornered on opening his mouth and letting the worst stuff come out, as evident by the fact that he revealed that not only did he use the outdated, untrue argument that things get complicated between men and women because "bitches are crazy", but he also told Jess about the stipulation of the guys' "No Nail Oath" that they all signed (Coach shout-out!) when she moved in. Under the creepy, borderline rapey oath, they "agree never to nail unless sex parlay into a business all parties involved" (ew) or that all parties must nail her (ewwwww). Despite being rightly horrified by their agreement, Jess still went along with the suggestion that she at least kiss the other guys in the loft to relieve the tension.
RELATED: Jess and Nick's Lip Lock On 'New Girl' Ranks As One Of The All-Time Best TV Kisses
They do kiss and it's as terrible as one would imagine (hey, remember in Season 1 when Schmidt tried to kiss Jess after his birthday party?) but it hardly alleviated the bigger issue at hand. When Jess and Nick argued about the "No Nail Oath" Nick said that it had to be made because he "couldn't help it", meaning he's been hoping to ravage her since the moment he first laid eyes on her. They looked like they were going to kiss again but were rudely interrupted, which seems to be the running theme since the actual kiss episode. Even worse, the big payoff in the episode was that Winston got the parking spot because he needed a win after not being able to find a condom, only to find his car was too small for the spot.
As far as post-kiss episodes go "Parking Spot" was more effective with the Nick and Jess tension, sexual and otherwise, than "Table 34" was, not to mention much, much funnier overall. I know it's going to be a long, bumpy ride back on the road to Nick and Jess, I just hope New Girl figures out what to do with Cece and Winston along this journey as well. Schmidt, well, no matter how douchey he is, will always be fun to watch.
Other memorable moments and one-lines from "Parking Spot":
- "Destiny may be a lady, but victory has a penis. Direct quote: Scott Caan."- Schmidt
- Nick's scream during his nipple twist from Jess in his bedroom.
- Schmidt's scream during his hit-and-turn from Jess in the parking lot.
- Nick and Jess' weird-off in the hallway. (Nick won. He always does).
- Schmidt peeing inside his body...and eventually out of it.
- "I found garbage and it has chocolate on it!"- Nick
- "I'm gonna throw fishsticks at them while singing 'Memory'." - Jess' plans to scare off the cats on her car.
- "Old people, foreigners, nerds...Schmidt and Jess?!" - Winston, worried that everyone but him was having sex.
Follow Aly on Twitter @AlySemigran
[Photo credit: Greg Gayne/Fox]
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Frank Ocean rounded out 2012 with a legal kerfuffle. The 25-year-old musician was reportedly cited for possession of marijuana on Monday, according to KRNV Reno's News 4.
The Mono County Sheriff's Department reportedly saw a black BMW racing northbound on U.S. 395 on the holiday and, with the help of California Highway Patrol, stopped the speeding vehicle. When approaching the car, the deputy reportedly smelled marijuana. The Sheriff's Department says when Ocean (whose real name is Christopher Breaux) was searched, they found a small bag of weed on him. He was cited for possession and released.
During the stop and search, the officer reportedly gave Ocean a verbal warning for speeding and also allegedly cited him for driving with a suspended license, according to the Associated Press (via ABC News). His license was then reportedly confiscated and another passenger in Ocean's car was permitted to drive the car from the scene.
The Associate Press reports that Ocean was also pulled over on Sunday and allegedly cited for speeding, making Monday's stop the second in two days.
While Ocean's rep has yet to comment on the citations, Ocean himself has taken to Twitter to deliver a message to his fans. "hi guys, i smoke pot. ok guys, bye," he wrote on Thursday. "hi guys, i drive a m3. that bitch fast..ok guys, bye. :)"
hi guys, i smoke pot. ok guys, bye.— frank ocean (@frank_ocean) January 3, 2013
hi guys, i drive a m3. that bitch fast..ok guys, bye. :)— frank ocean (@frank_ocean) January 3, 2013Follow Lindsey on Twitter @LDiMat.
[Photo Credit: Per Ole Hagen/NRK P3/flickr]
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35 and Ticking (Image, $18.99)
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I unfortunately missed this when it hit theaters earlier this year, but if you like your sci-fi that’s high on concept and low on special effects, this should be up your alley. If it’s half as good as actress Brit Marling’s other indie sci-fi flick this year, the incredible Sound of My Voice, it’ll still be better than most of 2011’s sci-fi films.
Archer: Season 1 (20th Century Fox, $27.99)
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The Big Bang Theory: The Complete Fourth Season (Warner Brothers, $34.99)
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Brand New Day (20th Century Fox, $20.99)
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Conan O'Brien Can't Stop (Magnolia, $20.99)
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Hesher (Lionsgate, $26.99)
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It's Always Sunny in Philadelphia: The Complete Season 6 (20th Century Fox, $29.99)
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Supernatural is the best TV show you’ve never given a fair chance. But it’s actually totally understandable if you’ve never given it a shot because of braindead artwork like this. I’m a die hard supporter of the show, and even I can’t get behind that goofy snake up the arm, which has absolutely nothing to do with the show and only further reinforces the false idea that this is a show like Charmed or The Ghost Whisperer.
The Tempest (Disney/Buena Vista, $24.99)
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Thor (Paramount, $22.99)
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Thor isn’t the best Marvel movie, it’s not even the best Marvel movie of the year, but it is consistently entertaining and shows off the funkier, more outlandish side of the Marvel superhero verse. It’s never silly when it easily could be, though Thor’s visit to the ice planet is a bit thin and, despite being an important part of the plot, reeks of needing to work in some action early on in the film. But once things begin to focus mostly on Earth and Thor the character starts to come into his own, charismatic self, it really hits its stride.
True Legend (Umvd/Visual, $18.99)
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A romantic comedy with Christian Slater and Eva Longoria? Awesome?
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Citizen Kane: 70th Anniversary Ultimate Collector's Edition (Warner Brothers, $39.99)
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The Movie: Citizen Kane is an unassailable film. There’s nothing that can be said about it in the year 2011 that wasn’t first said decades ago. Not only is it an incredibly important and influential piece of film history, but it’s simply a damned good story expertly told.
The Features: Even though this is a three disc set, the real special feature is the utterly pristine HD transfer on display. Obviously the sound, which flawlessly preserves the film’s original mono sound mix, isn’t going to give your surround system a work out, but the image quality is crystal clear and yet not overly processed and polished. This is what all HD transfers of truly vintage films should look like.
Beyond the high def rebirth, however, all of the features here are taken straight from the decade-old special edition DVD. Fortunately, they’re all robust features and there’s a veritable bounty of them. Every millimeter of Orson Welles’ film is gone over with a fine tooth and honest (it’s not just a praise fest) comb.
And while all the on-disc features are previously available materials, Warner Bros. have packaged the film with some very fine goodies, including lobby cards, a reproduction of the program from the film’s world premiere, and a hardbound book filled with behind-the-scene photos.
Buy It If: You’ve never owned a Citizen Kane set. Even if you already own the DVD(s) the packaging and presentation here make this a worthwhile upgrade.
The Count of Monte Cristo (2002) (Disney/Buena Vista, $18.99)
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One of the best horror remakes of the 2000s, a huge improvement over Wes Craven’s original, and arguably Alexandre Aja’s most well-rounded film.
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It was not so long ago that Ali Lohan, Lindsay Lohan's sister, had signed a contract with NEXT Model Management and was excited to embark on her career as a model. Most of us figured it would be a few years before we'd be flipping through Vogue or Vanity Fair and spot her pulling the collar of a floor length fur coat up over her ears and making a sad face because it's cold at the train station and there's no one around to help her load her designer luggage aboard. But it turns out the day of Ali Lohan appearing in full page spreads is closer than we thought because yesterday, photos surfaced that seemed to indicate Ali had had a significant amount of plastic surgery done, and the only way to explain it is to assume it was intended to increase the likelihood of her succeeding in what is possibly the most competitive industry in the world. The photo on the left was taken in 2009 when she was 15 and the photo on the right was taken in Beverly Hills earlier this week.
Admittedly, I am not a plastic surgeon so I cannot examine each and every way Ali's facial appearance has changed and tell you what kind of procedures she may have had. However I most certainly can point out the obvious differences between the two images, and they are: enhanced cheekbones, a fuller bottom lip, fuller eyebrows, a thinner nose, a pointier chin, and a paler skin tone. I refuse to believe any one of them occurred naturally, and I bet before you know it we'll see Dina Lohan talking to Matt Lauer about how Ali is just recovering from a bad case of mono and arguing we shouldn't be picking on the way a 17 year old girl looks while she's recuperating from an illness. But nonetheless, the transformation is shocking and almost makes us consider the possibility that Bristol Palin really did need to have her face slimmed down because her jaw needed correcting. Almost, you know?
Source: The Fab Life